"I've always wanted to do a movie that takes place in the 70's and was about rock and roll and getting high, like Dazed and Confused or Fast Times at Ridgemont High"
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It is ambition filtered through nostalgia, the kind that comes pre-lit by other people’s movies. Edward Furlong isn’t pitching a story so much as he’s naming a vibe: the 1970s as a curated playground where rock and roll is shorthand for freedom and getting high is less a crisis than a rite. By invoking Dazed and Confused and Fast Times at Ridgemont High, he’s not just citing influences; he’s aligning himself with a canon of youth films that turn aimlessness into attitude and adolescence into a hangout you can revisit whenever adulthood gets too loud.
The specific intent reads like a desire to step into a familiar costume. Furlong came up as a teen icon in the early-90s spotlight, a period that loved to romanticize the previous decade’s messiness while packaging it safely for multiplex consumption. His quote telegraphs a longing to participate in that tradition: ensemble energy, loose plotting, soundtracks doing half the emotional labor. The subtext is about legitimacy and belonging. Those reference points are proof-of-taste, a way of saying: I get what’s cool, I want in on that lineage.
There’s also a quiet tell in the phrasing. “Getting high” sits beside “rock and roll” like an accessory, not a consequence. That’s the Hollywood 70s: intoxication as texture, not tragedy. It works because it’s honest about what these films sell - not the decade, but the sensation of it, a permissive past where your worst decisions still look good in golden hour.
The specific intent reads like a desire to step into a familiar costume. Furlong came up as a teen icon in the early-90s spotlight, a period that loved to romanticize the previous decade’s messiness while packaging it safely for multiplex consumption. His quote telegraphs a longing to participate in that tradition: ensemble energy, loose plotting, soundtracks doing half the emotional labor. The subtext is about legitimacy and belonging. Those reference points are proof-of-taste, a way of saying: I get what’s cool, I want in on that lineage.
There’s also a quiet tell in the phrasing. “Getting high” sits beside “rock and roll” like an accessory, not a consequence. That’s the Hollywood 70s: intoxication as texture, not tragedy. It works because it’s honest about what these films sell - not the decade, but the sensation of it, a permissive past where your worst decisions still look good in golden hour.
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| Topic | Movie |
|---|---|
| Source | Help us find the source |
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